Seattle Pacific University Catalog 1986-1987

https://digitalcommons.spu.edu/archives_catalogs/1068/thumbnail.jp

Seattle Pacific University Catalog 1985-1986

https://digitalcommons.spu.edu/archives_catalogs/1067/thumbnail.jp

Conflict resolution in the Middle East : the Israeli-Palestinian declaration of principles on interim self-government arrangements - a history

This work evaluates the Declaration of Principles on Interim Self-Government Arrangements (DoP), the document signed between the State of Israel and the Palestine Liberation Organisation (PLO), in Washington D.C. on 13 September 1993, as a case study of the bilateral management of an asymmetrical national-subnational conflict within the context of an international conflict resolution framework. The DoP represents progress in the international endeavour to realise a settlement of the wider Arab-lsraeli conflict, as signalled by the Madrid conference of 31 October 1991. The DoP ushered in a new era in Israeli-Palestinian relations. It is part of a process which, in essence, is the cornerstone of a formal mutual recognition pact which represents a reciprocal acknowledgement of legitimacy, a crucial first step towards finding a broad and permanent settlement. The DoP was only possible due to the abandonment of long-held mutually antagonistic and intransigent positions. Like all political documents, it represents a compromise. This study examines the complex nature and dynamics of the attempts at resolving the Israeli-Palestinian conflict, and reviews the DoP to investigate how it transpired, what it means, how it will be implemented, how far it can be used as a blueprint for future peacemaking, and offers an analysis of the findings in conclusion. This study also addresses the wider international ramifications and relationships which will be a prerequisite for the evaluation and analysis of the corresponding policies and responses by the major powers and actors from the international community within the framework of the 1991 Madrid Middle East Peace Conference. Chapter one examines the definition and contextualisation of the conflict resolution case study. Chapter two focuses on the establishment, purpose and development of the DoP, incorporating a thorough examination of the development of the secret Oslo backchannel, concluding with an analysis of the Oslo negotiations within the official Madrid framework as an example of conflict resolution. Chapter three provides an analysis of the DoP as an example of conflict resolution and critiques the meaning and purpose of the document. Chapter four provides an analysis of the implementation process of the initial years of the life of the DoP, incorporating the actual implementation of the DoP to 31st August 1997, including: the Agreement on the Gaza Strip and Jericho Area of May 1994; the World Bank aid programme; influential bilateral agreements by the two with third parties; the Agreement on Preparatory Transfer of Powers and Responsibilities of August 1994; the Protocol on Further Transfer of Powers and Responsibilities of August 1995; the Israeli- Palestinian Interim Agreement on the West Bank and the Gaza Strip of September 1995; and the Protocol Concerning the Redeployment in Hebron of January 1997. The final chapter concludes by evaluating the attempt by the two communities to shape a common future with an analysis in determining the effectiveness of the DoP both as an instrument for, and as an example of, conflict resolution

Ideas of Time in Music : A Philosophico-logical Investigation Applied to Works of Alberto Ginastera (1916 - 1983)

This thesis proposes temporal conceptions that stem from philosophical inquiry, such as linear time, cyclical time and branching time, to then find a connection with the way music is structured and with musical meaning. I consider ontological and phenomenological approaches to the problem of time and music in order to demonstrate this. The central aim of this investigation is to build bridges and dissolve the opposition between time taken (clock time) vs. time evoked (conceptual time) in studies on time and music. Lewis Rowell, Jonathan Kramer, Jos Kunst and Alan Marsden s contributions are going to be taken as the main references. I consider the ontological approach as extremely literal since linearity, circularity and branching time are not explored there as concepts defining the meaning of music, but as abstract orders in time for music being processed, viewed from an exclusively technical point of view. In turn, the phenomenological approach does not generally link music to philosophical developments, it just describes general cultural conceptions of time. This thesis interprets the temporal modes of the phenomenological approach as highly coincident with the temporal ontologies in the ontological approach, as seen through developments in temporal logic. Temporal logic, a branch of the classical logic, is used as a methodological trigger. Here the work of Arthur Prior is going to be taken as reference. Temporal logic first formalises, then clarifies, and finally validates assertions expressing temporal beliefs. The hypothesis of this thesis, that temporal conceptions are expressed through music, having in this case the power to explain at least its primary meaning, uses temporal logic as a bridging symbolism. In this sense, a comparison between music and language within a broader analysis is undertaken, before developing ideas of logic and temporal logic within musical practice. In particular, in my study of some works by the Argentinian composer Alberto Ginastera (1916 1983), I illustrate the idea of a multi-temporality, i.e. the same composer works with several time structures already available by a cumulative process in the history of ideas. The thesis finds there is a special type of time in music─neither an exclusive musical time as a totally separate time species; nor Time in music, in an abstract de-subjectified view. Thus, a cooperative, synthetic position is defended. Secondly, music represents by means of its distinct elements something inherent to itself, which links with concepts of time (ideas), and by using these elements in certain conventional ways, displays culturally conditioned temporal meanings. Thirdly, music displays a kind of temporal logic, although an extended view comparing it with the exclusively linear logic of music as conceived by the formalist tradition in musicology. It is also an aesthetically oriented approach different from the temporal logic as applied in literal representations of music in computing areas. Finally, I argue for a new musical temporal mode, the actual branched time in music (in the sense of parallel times), through the addition of a theoretical background for this mode in musicological studies.Ideas of Time in Music states that music is not only a source of pleasure but also a source of knowledge. We learn something about time with music, not only in the primal sense of understanding dimensions, but in the profound sense that music meditates, through sound, ideas about time. Linear, cyclical, and branching time conceptions external to music find a connection with music s internal structure and meaning. In order to demonstrate this, issues of musical ontology, musical language, and musical logic are developed. In addition, the main philosophical perspectives on time, ontological and phenomenological, are combined for a more comprehensive account of time in music. Alberto Ginastera s music is analysed at the end as an example of how the time of music helps in constructing its meaning

Integrative (Synchronisations-)Mechanismen der (Neuro-)Kognition vor dem Hintergrund des (Neo-)Konnektionismus, der Theorie der nichtlinearen dynamischen Systeme, der Informationstheorie und des Selbstorganisationsparadigmas

Der Gegenstand der vorliegenden Arbeit besteht darin, aufbauend auf dem (Haupt-)Thema, der Darlegung und Untersuchung der Lösung des Bindungsproblems anhand von temporalen integrativen (Synchronisations-)Mechanismen im Rahmen der kognitiven (Neuro-)Architekturen im (Neo-)Konnektionismus mit Bezug auf die Wahrnehmungs- und Sprachkognition, vor allem mit Bezug auf die dabei auftretende Kompositionalitäts- und Systematizitätsproblematik, die Konstruktion einer noch zu entwickelnden integrativen Theorie der (Neuro-)Kognition zu skizzie-ren, auf der Basis des Repräsentationsformats einer sog. „vektoriellen Form“, u.z. vor dem Hintergrund des (Neo-)Konnektionismus, der Theorie der nichtlinearen dynamischen Systeme, der Informationstheorie und des Selbstorganisations-Paradigmas

Bowdoin Orient v.133, no.1-25 (2001-2002)

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Bowdoin Orient v.139, no.1-26 (2009-2010)

https://digitalcommons.bowdoin.edu/bowdoinorient-2010s/1000/thumbnail.jp

The Music Sound

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music